Or his nerve. I bet the pills were Miltown, the universal tranquilizer of the Fifties.

Another little moment: During the New Year's Eve party at the Capri in Havana, Geary gets a lascivious grin on his puss and says, "I'll try one of those red-headed Yolandas." If you run the DVD on slo-mo, you can see Michael rolling his eyes as if to say, "There he goes again--thinking with his dick. Didn't he learn anything from that brothel murder?"

There are two scenes for me. One is between Vito and Bonasera after Vito leaves his desk, stands in front of Bonasera and Bonasera says "Be my friend". Then Vito looks at the floor and kind of sways a little. It reminds me of two kids (or lovers) who are trying to make up.

The other is at the restaurant when the waiter is uncorking the bottle of wine. Sollozzo face is an expression of impatience and a little irritation.

Michael has a similar expression in the Moe Green meeting when Moe says the chef will cook for him special and the dancers will kick his teeth in.

It's a big moment for the plot, but the focus on Michaels face when he realizes that it was Fredo who set him up, the complete shock and disbelief he got has to be one of the better expression I've ever seen.

Then there is the look on Kay's face after the attempted assassination in the bedroom...the scene where she is holding Mary, sitting on a sofa, and glaring at Michael.

Right, dt. If looks could kill, Michael would have been dead in that scene. That's probably when Kay decided to have the abortion.

Speaking of looks, I love the exasperated look that Clemenza gives Tessio (along with the table taps and hand wave) when Vito tries to convince them not to pay Fanucci the $200.

Yes W, I to thought Clemenza's hand wave was one of the best gestures in the film.

In that wonderfully acted scene when Michael and Fredo have their drink in Havana: Fredo is on the verge of intimacy. He says, "Sometimes I wish I would have married a woman like Kay...be more like..." We're waiting for Fredo to say, "...like you." Instead, he says, "...like Pop." He's holding Michael's wrist, but then he jerks it away and says, angrily, "Why didn't we spend time like this before?" Cazale's triumph.

Yes TB, I think Fredo is having a "what might have been" moment.

I also get a chuckle out of Fredo trying to figure out what banana daiquri is in Spanish.

But before Fredo yanks his hand away, he tips off Michael that he's disgruntled, talking about how he was mad at Michael - he doesn't say why at that point, but it's certainly elaborated further in the boat house scene.

Then you see Michael cooly and methodically tell Fredo that there will be an assassination attempt that night, and that Fredo is behind it. You certainly see contrast in the brothers - Michael is calm and collected, whereas Fredo is noticeably nervous in his speech, especially after Michael tells Fredo he's already made his move on Roth.

Three more, after watching the wedding scene (for about the 2000th time):

--Sonny has Paulie in tow when he confronts the FBI guys outside the compound. After Sonny spits on the FBI guy's credentials and turns, Paulie surreptitiously give the FBI guy the cornudo--the "horns" two-finger gesture of contempt.

--Sonny's wife, Sandra, is showing, with her hands, how big Sonny's dick is. She has an almost prideful look on her face. But, just behind her, Sonny is gesturing to Lucy Mancini to follow him for their "assignation." Sandra spots them, and suddenly looks crestfallen--"there he goes again"--as if acknowledging that Sonny's massive organ is not her exclusive property.

--Kay's all excited that Michael knows Johnny Fontaine, and seems eager to know how his father helped Johnny in his career. But, as Michael describes how "Luca Brazi held a gun to the bandleader's head and assured and my father assured him that either his brains or his signature would rest on the contract," her expression slowly shifts from eagerness, to bafflement, to shock.

- I like when in g2, when Connie orders Neri to get a drink for Merle" AL, WOULD YOU GET HIM A DRINK, PLEASE" Neri has this look on his face that's a combination of ' what am I, a bartender?' and ' You're lucky your the boss's sister.'
- in a deleted scene, Neri is talking to Klingman and Klingman says"who do you think you're talking to?' Neri has this look on his face as if to say 'You don't know who you're talking to.'
- A little after that when Klingman runs into the ballroom to get away from Neri, he makes the mistake of throwing a chair at Neri, Neri picks it up and in one of the few shows of emotion for him, picks it up and is getting ready to take Klingmans head off has a VERY ticked off look on his face.

Notice in the Klingman scene that the Casino's security personnel (they may have been police) step out of Neri's way as he pursuing Klingman.

Probably mentioned before, but here goes:

GFI: Michael hugging his brothers good bye before the Sollozo assassination.

GFII: Michael giving Fredo The Kiss while in Cuba at the New Year's Eve party.

As soon as Neri smacked Klingman in the head, you can see them look away, as if to say " we didn't see anything " and when Klingman and Neri start walking they take a couple of steps back and don't want to even appear to get involved. That sends a message that they knew who Neri was and the only one who didn't have a clue was Klingman.

For me , there's at least a couple. Immediately following the scene where Michael states how he'll murder Sollozzo, Clemenza starts to laugh, followed by Sonny, and then Tessio. However, the look on Tom's face is one of disgust at their laughing. The other moment is at the restaurant as the waiter is uncorking the wine bottle. Sollozzo's impatient expression is for all to see.

After Michael shoots Solozzo he quickly turns and fires a shot into the front of McCluskey's neck. McCluskey gasps for air while tugging at his handkerchief to loosen it in an attempt to search for the wound. In that brief period of time between the shot in the neck and McCluskey crashing downward into the table Michael has this look of complete horror/disbelief but I think there was something underneath it all that made him choose against that final kill shot. He wanted McCluskey to look into his eyes and think about why as he went. Absolutely brutal scene. best mob hit ever portrayed in film in my opinion.

You have to answer for Santino, Carlo.

That final scene in the third film rescues many of the film's flaws. Michael remembering his women before he dies; underscoring the life he could have lead, and the utter futility of his quest to keep his family safe, from the moment he put a bullet in Sollozza's head until Mary's murder.

Here is Michael Corleone, a man gifted with great intellect, willpower, and a capacity for nearly endless ruthlessness, whose every action from the moment he put a bullet in Virgil Sollozzo's head had been to keep his family safe, to guarantee its fortunes and survival. And now, at the end of his life, he revisits his failures; the first wife that was murdered by a bomb meant for him, a second wife who grew to hate and fear him and killed his unborn child to escape him, and a daughter who adored and worshiped him, sharing Apollonia's fate in dying in his place.

I just watched the trilogy last weekend, and something stirred me about that final scene in III. It now strikes me that Don Ciccio's death presages Michael's in some way; both men are ultimately killed for their failures; Ciccio for not catching Young Vito, and Michael for not keep safe that which his father had built from the moment he fled from Don Ciccio. A closing of the circle, if you will.

... Add to that the fact that in the flashbacks we really do see Pacino 20 years younger and effectively more innocent. That's something that a film that generates its past in ex post facto fashion cannot accomplish.

(The post-Hitchcock Psycho II is something like that, a middling film redeemed by its glorious heritage.)

Another marvel:

Immediately after the Tahoe shooting, when Kay is holding Mary close, Michael's face shows embarrassment, humiliation, frustration--he can't look Kay in the eye after that shooting. Kay, meanwhile, is beaming anger at Michael--"if looks could kill." I bet that was when she decided to have an abortion.

- Vito (Robert de Niro) when he perfectly impersonates the gestures of Vito (Marlon Brando) (scratching his cheek and doing this "I don't know, sure" gesture)

- When Vito delivers food in little Italy you see for a tiny second how some thief steals a fruit out of a lady's bag

- The small embarassing gesture by Antonio when Mo Green tells Michael he banged the bar girls

Completely agree TB. That was a very well acted scene.

One little thing I always liked is when McCluskey asks, "How's the Italian food in this restaurant?", like he's not familiar enough with it to ask about a specific dish. Being half-Italian, I never heard that exactly, but I remember my parents talking about "Chinese food" like it was all one thing, and saying they were going to "The Chinese Joint," like that was the restaurant's name.

I like the point when Michael is standing in front of the hospital and lights his cigarette....He looks at the lighter, then shuts it...Many have said that this was a comment that his hands were still, as opposed to Enzo, who was shaking like a leaf. I think that when he shut the lighter (and killing the flame) it was the moment that his old life was over. The flame was a metaphor for his past life.....

When Michael and Fredo are having their drinks in Havana, Michael tells Fredo about the plot to assassinate him. Fredo asks, "Who?" Michael replies "Roth." But he has a look (and sound) of disgust when he says, "Rrrrothhhh," as if he's reproaching himself for having fallen for Roth's promises about Havana--and nearly getting himself and Kay killed as a result.

Also in that scene TB I like when Michael says of Roth: "He acts like I'm his son -- his successor -- but he thinks he's gonna live forever ...".

Another one I like is one from The Godfather II after Vito gets home just after he has shot Fanucci and meets with his family and sits down on the steps outside their home and picks little Michael up and he says to the baby in Italian "Michael, your father loves you very much" and the baby grabs his father's hand.

That's a golden moment right there, and frankly amazing how they got the luck in getting that in that scene.

I quite like the comission hit scene in GF3.

The scene with Vincent Mancini and the assasin's in the beginning with Bridget Fonda is decent too, although abit Steven Seagal-esque chopping going on from Andy Garcia lol.

Im going to do something to convince you, don't make any sudden movements.

BOOM !